Pianists are getting better, and recordings too.

Right...

Here we go!

Dan, where you aware that the Feb issue of BBC Music Magazine has a CD attached with Martin Roscoe playing Chopin, including the Funeral March sonata? Very nice.

As promised, here is a write-up regarding last week. For me, last week was a piano lesson with Martin Roscoe, and my January Recital.

Firstly, little bit of background. For my January Recital I’d chosen to play Schubert’s D.664 Sonata, in A. For those who know this sonata, or indeed the piano works of Schubert, you will appreciate the difficulty!

A little over a month ago, I contacted the renowned British pianist Martin Roscoe in hope I could have a lesson with him. Knowing his reputation as a performer and teacher, and having heard him play this very sonata in the past, I though this would be a good plan. He happily obliged to give me a lesson, on the 25th Jan, three days before my recital.

So, Monday soon came, and I was off to catch a train. After a change at Manchester Oxford Road, we were powering though Lancashire, towards the Lake District. Martin had kindly offered to meet/collect me from the train station. We had a chat in the car, and had a pot of tea on arrival.

In his teaching room he has two pianos – a Yamaha U3, and a Steinway & Sons Model B. I played on the S&S. He took out his own score of the Schubert and sat across the room. He listened to the first movement, and to quote, said “there are some excellent things in here, and a few not so!”. He then ‘took’ me through the first movement, and we chatted about some of the ‘issues’ he had. These included the end-of-phrase notes, how much time and space to give them, appropriate use of tone colour (and the infinite gradations of the una-corda), and the balance of that with the sustain pedal. He questioned EVERY point of interpretation that I’d used in the Schubert – to see whether that they were intentional, justified, and if I thought they were, in some way, faithful to Schubert’s text, and thus his intentions. He noticed a little issue with my right-hand scaleic octaves – my thumb has a little too much free-movement, thus not always connecting the bottom line of the octaves in the conjunct manner required (Ooppss!).

He said less about the second movement. He complemented my choice of tempo, and point of rubato. He wanted the Alberti-bass in the middle section to be quieter than pp. This requires a lot of control, but we both agreed that it’d be easier to do on a S&S Model D, than the Model B (and it was!).

By now, this ‘hour’ lesson had just passed over 90 mins so unfortunately, time was quickly running out. We managed to get though the final movement, but did not have enough time to do any extensive work on it. However, Martin decided that he would demonstrate some passages, and I took note (and a mental image!). This actually worked really well!

Overall, I found this lesson invaluable. Not only is he a great performer, he is an exceptional teacher, too. This is highlighted by the fact he will make a suggestion, and demonstrate exactly what he means. This approach really works for me!

He has agreed to see me again, on a every-now-and-again basis. I’m more than happy with his!
Right, onto the 28th Jan – recital day!

It may not seem strange to others, but I found the timetabling quite strange. My recital was at 1025. A morning recital!

Performing can be a strange thing. I think I gave a strong performance. The first and second movements were layed-out as I wanted them (give or take!). The third is very difficult and contained a few more ‘slips’ than I normally give. However, I truly feel that they didn’t interrupt the flow and rhythmic integrity of the music. I hope that the examiners agree!

So, all in all, a busy week. I was a little disappointed by my slips in the third movement… But, I suppose, these things happen! It’s all over now, and I’m beginning work on my May programme! Time to think positively!

Thanks to all who’ve shown an interest in my music-making! Back to normality for the time being…

Dan

Dan, thanks for taking the time to share your experience. Sounds like a memorable week.

best regards
Jeff A

Hi Dan,

Glad to hear everything went very well for you.

Was 3 days enough time to consider, relearn and/or use the suggestions from Martin? I ask because I know for myself, when under pressure, one usually reverts to muscle memory. Or are you fortunate enough to turn something 180 degrees at will?

I also would be very interested to know how you handle nerves and memory for performances? Are either of these a factor or concern for you?

Cheers,
Doug

Also, a question ... do they or you record your performance? And then use as a learning tool or point of reference in the examining?

Just curious.
Thanks.

Dear Dan,

Lessons at a top level are something aren't they?

Till you have examined music making at a top level you can hardly imagine the depth of it! I am so pleased that you had this experience, and will continue to.

My own experiences of this were not quite at the Roscoe level on my double bass, but incredible anyway. David Daly is the First double bass in the Bournemouth Symphony Orchestra, and I had fortnightly lessons with him for three years with occasional cancellations and holidays. This involved a three-hour drive each way to his home from Worcester and a 6 am start! Always the hour lesson was almost two hours, and we stopped when the concentration slipped. Either of us would say, "Right, that's it. Time to stop!"

Everything is questioned and evaluated in terms of achieving the intention, and what the intention was and should be.

What struck me was that very rarely I had a good idea [usually technically] that worked, and David was entirely open to adopting my ideas when these rare occasions occurred! That builds confidence for sure.

What was most amazing about these lessons is they became more and more like conversations about music we loved, and then we shared ideas about the way to play the very music! He called it a question of sharing, though I was under no illusion that he was the generous one in this!

I remember taking a fantastic Voigt [German bow-maker based in England after settling here in the thirties] bass bow to a lesson, to ask what he made of it. I asked what I should be prepared to pay for a bow I found supercharged my ability to dig articulation with splendid tone at all dynamics out of the bass. His response was to pay what was asked up to £10K! I asked what a good bow could be bought for, and he said from about £4K, but this was magical. He used it that evening in the BSO concert in the Pool Arts Centre, which I went to as well as the afternoon rehearsal. I was welcomed as a friend of the band in the Green Room at half time! Even Jokob Kreitzberg [conductor] asked me how I liked the first half! Such experiences are priceless!

I did not buy the bow as by then I was struggling with an injury to my left hand, though even giving up professional work I continued to have lessons till I sold the bass and put a line under my playing!

I wish you all the luck in your chosen path, and never let anyone tell you an artist's life is likely to be financially unstable. Of course there is truth in this, but no less stable than any other job nowadays! Orchestras close down less often than companies downsize!

May God bless you in your chosen path and bring you the greatest satisfaction in achieving the potential of your abilities!

ATB from George

Hi all!

I've been so busy, but truly appreciate the kind and warming words!

I'll reply, and answer the questions this evening!

I'm just setting off for a masterclass with.... Martin Roscoe!

Dan

Right, I'm back!

Florestan,

Martin was aware that my recital was only days away, and so focussed the lesson on improving upon the existing 'state of affairs'. Ideas were firmly rooted, rather than planting new ones.

I don't seem to suffer from nerves per se, obviously I have nerves, but they are usually 'positive' ones, not ones of doubt. I only get the 'negative' ones when something has not been practised enough!

Jeff,

Strangely, they don't record us, and we are not allowed to record either. I fully agree with you - the recordings could be put to very good use, both for ourselves and for the moderation of marks.

George,

These 'maestros' are indeed very, very inspirational. They are active professionals in the world of music - they really know the game and have so much to give. It was a shame that you had to give-up your playing career, but obviously you have maintained a fiery passion for the music. Thanks again for your kind words!

P.S. Do you still live in Worcester? I lived in Tewkesbury for two years (whilst at sixth-form at Hanley Castle). My GF, before going to Chethams, attended the Kings' School, Worcester.
Each and every Saturday I took a train from Forgate Street to Paddington to attend the JD at the Royal College of Music. We still have family/friends around the area.

I still live in Worcester, though the Hereford side of the River, which I prefer. The people are certainly friendlier on the rural side of town.

I have caught many a train in the Forgate myself!

ATB from George

A new(ish) one for you all Pianophiles,


Piotr Anderszewski, Live at Carnegie Hall

http://www.amazon.co.uk/Piotr-...id=1265472877&sr=8-1



George, the Partita may not be your 'cup of tea', nevertheless, the playing is of a very high pianistic altitude. I've thoroughly enjoyed it.

Dan, just ordered the Anderszewski. Looking forward to it's arrival.

Mike,

Did the Anderszewski arrive? What do you think?

I'm currently listening to Schiff play the Bach Partitas.... He has a very unique approach to ornaments...

The Anderszewski came Saturday. It's fantastic. I particularly enjoyed the Bach, Schumann and Beethoven.

Glad you liked them, Mike.

Live recordings are quite a risk (as is performing!).

I'm posting some Blechacz for you by the end of this week.